THE FROGS

A summary of the play by Aristophanes

This document was originally published in The Drama: Its History, Literature and Influence on Civilization, vol. 2.
ed. Alfred Bates. London: Historical Publishing Company, 1906. pp. 30-31.

The play of the Frogs turns upon the decline of tragic art. Euripides was dead;

so wereSophocles and Agathon; there remained none but second-rate
tragedians. Bacchus misses Euripides, and wishes to bring him back from the
infernal world. In this he imitates Hercules, but though equipped with the lion-
hide and club of the hero, he is very unlike him in character, and as a dastardly
voluptuary, gives rise to much laughter. Here we may see the boldness of the
comedian in the right point of view; he does not scruple to attack the guardian
god of his own art, in honor of whom the play was exhibited, for it was the
common belief that the gods understood fun as well, if not better, than men.
Bacchus rows himself over the Acherusian lake, where the frogs pleasantly
greet him with their croaking. The proper chorus, however, consists of the
shades of the initiated in the Eleusinian mysteries, and odes of wonderful
beauty are assigned to them. Aeschylus had at first assumed the tragic throne
in the lower world, but now Euripides is for thrusting him off.

Pluto purposes that Bacchus should decide this great contest; the two poets,
the sublimely wrathful Aeschylus, the subtle, vain Euripides stand opposite
each other and submit specimens of their art; they sing, they declaim against
each other, and all their failings are characterized in masterly style. At last a
balance is brought, on which each lays a verse; but let Euripides take what
pains he will to produce his most ponderous lines, a verse of Aeschylus
instantly jerks up the scale of his antagonist. Finally he grows weary of the
contest, and tells Euripides he may mount into the balance himself with all his
works, his wife, children and servant, Cephisophon, and he will lay against
them only two verses. Bacchus, in the meantime, has come over to the cause
of Aeschylus, and though he had sworn to Euripides that he would take him
back with him from the lower world, he dispatches him with an allusion to his
own verse from theHippolytus. Aeschylus, therefore, returns to the living
world and resigns the tragic throne to Sophocles during his absence.

The Frogs
A synopsis of the play by Aristophanes
This article was originally published in Minute History of the Drama. Alice B. Fort & Herbert S.
Kates. New York: Grosset & Dunlap, 1935. p. 21.
THE FROGS was probably produced at the Lenaean festival in Athens in January, 405 B.C.
where it took first prize. It scored such a hit that it was staged a second time, probably in March
of the same year, at the Great Dionysia. It is typical of
the lyrical-burlesques of Aristophanes.

THE god, Dionysus, as a theater goer, bemoans

the lack of good contemporary dramatists. This
lack, he feels, reflects on his own honor. After
some consideration he resolves to go with his
servant, Xanthias, to the afterworld and bring
back the Prince of dramatists, Euripides. With
this plan in mind he procures a lion skin and club
and disguises himself to represent the recklessly
brave Heracles, thinking thus to fortify himself
against the dangers of the journey. He makes a
final call on the immortal Heracles to ask
directions and then sets out.
Dionysus himself is ferried across to Hades by the boatman, Charon, through a chorus of
croaking frogs who seem to be pretty well posted on the doings of mortals. Since
Charon disdains to ferry Xanthias across the lake the latter has to walk around and meet
his master at the entrance to Hades. No sooner are the two inside Pluto's realm than the
inhabitants, spying the club and lion skin, decide their chance has come to get even with
Heracles for certain misdeeds of that reckless hero on his own visit to the nether world.
Dionysus in great alarm insists that his servant change costumes with him, an incident
which gives rise to banter of the type indulged in by two modern stage comedians in a
musical show. The change is scarcely accomplished, however, when the maid of the
lovely Proserpine appears to bid the supposed hero to a banquet. Dionysus insists on
reassuming the lion skin that he may accept the invitation, but no sooner has he done so
than two indignant eating-house keepers assail the supposed Heracles for damages done
on his previous visit. At this point, Dionysus in terror reveals his actual indentity.

The news spreads that Dionysus is in Hades and almost at once loud quarreling is heard.
The disturbance turns out to be Aeschylus and Euripides disputing the place of honor as
King of Tragedy, a position which Aeschylus holds and Euripides wants. It is finally
agreed that since their plays were written for performance at the Dionysian festivals,
Dionysus shall decide their dispute. A trial is held and in the end the matter is settled by
weighing the verses from each poet's writings in the scales. Aeschylus as the writer of
heavier verses is declared the winner. But the trial has changed Dionysus' mind and he
departs for earth taking Aeschylus instead of Euripides, leaving Sophocles meanwhile to
hold down the place of honor.
Study Guide for Aristophanes' The Frogs

Since all the good tragic poets are dead, and the embattled Athens needs one to advise it,
the god Dionysus descends to Hades to bring on back to life.
Try not to get bogged down too much in the political and literary allusions, but
concentrate on the comedy and broader themes. But Aristophanes is a very
political writer, so as you read these plays, try to figure out what (if any)
political orientation he has.
Outside of the obvious, think about the main differences between Athenian
comedic and tragic dramas (staging, character types, plot form, role of chorus,
etc.)
For those of you who associate comedy with Cheers, the aggressive, liberating
scatological (look it up) comedy of the Greeks will come as a bit of a shock.
We're from moving characters who commit suicide out of shame to characters
who don't know what the word means. What can you say about a culture that
contains both attitudes? Note the heightened awareness of what is now called
"the fourth wall"; the characters occasionally address the audience. Note also
the heightened awareness of language and of being on stage (i.e. lots of "take
my wife, please" jokes).
The Frogs is considered to be the last play written under the aegis of "Old
Comedy," and was composed during the last year of the War (404). This is no
accident, as Old Comedy depended on freedom of speech. A city that in 399
would kill Socrates out of annoyance would have been in no mood to have its
leaders' sexual habits openly ridiculed. Aristophanes could say things no
modern comic would even dare
This is the second play we have read where Dionysus is the lead character. Is
Aristophanes thus trying to say something about the theater? Compare the two
Dionysuses (their portrayals and purposes have more in common than you
think at first) and the plays' plots. Note that he goes down to get Euripides but
returns with Aeschylus: why does he change his mind?
Look for parallels between the slapstick first half and the more intellectual
second half.
Why does Dionysus borrow Heracles' clothing for his journey? What comic
circumstances does this disguise create?
The journey to Hades is a traditional act of mortal heroism. Is there any
significance in having the god undergo this trial? How does he acquit himself
in the horrors of Hades?
Look for any indication of why Sophocles is not considered a candidate for
resurrection. Do you find any truth in the criticisms leveled against Aeschylus
and Euripides? Which, if either, does Aristophanes treat more harshly? Is he
unfair to them? Consider the moral and aesthetic criteria by which he judges
the dramatists. What is the function of a playwright, according to this play?
Consider this in the light of Aristophanes' own plays. Plato later, especially in
theRepublic, develops many of Aristophanes' insights. The Frogs is considered
(by some) to be the first work of literary criticism.
Aristophanes, the greatest of comic writers in Greek and in the
opinion of many, in any language, is the only one of the Attic
comedians any of whose works has survived in complete form He was born
in Athens about the middle of the fifth century B C, and had his first
comedy produced when he was so young that his name was withheld on
account of his youth. He is credited with over forty plays, eleven of
which survive, along with the names and fragments of some twenty-six
others. His satire deal with political, religious, and literary topics,
and with all its humor and fancy is evidently the outcome of profound
conviction and a genuine patriotism. The Attic comedy was produced at
the festivals of Dionysus, which were marked by great license, and to
this, rather than to the individual taste of the poet, must be ascribed
the undoubted coarseness of many of the jests. Aristophanes seems,
indeed, to have been regarded by his contemporaries as a man of noble
character. He died shortly after the production of his "Plutus," in 388
B. C.

"The Frogs" was produced the year after the death of Euripides, and
laments the decay of Greek tragedy which Aristophanes attributed to
that writer. It is an admirable example of the brilliance of his style,
and of that mingling of wit and poetry with rollicking humor and keen
satirical point which is his chief characteristic. Here, as elsewhere,
he stands for tradition against innovation of all kinds, whether in
politics, religion, or art. The hostility to Euripides displayed here
and in several other plays, like his attacks on Socrates, is a result
of this attitude of conservatism. The present play is notable also as a
piece of elaborate if not over-serious literary criticism from the pen
of a great poet.

Introductory Note 

Aristophanes, the greatest of comic writers in Greek and, in the opinion of many, in any
language, is the only one of the Attic comedians any of whose works has survived in complete
form. He was born in Athens about the middle of the fifth century B.C., and had his first comedy
produced when he was so young that his name was withheld on account of his youth. He is
credited with over forty plays, eleven of which survive, along with the names and fragments of
some twenty-six others. His satire deals with political, religious, and literary topics, and with all
its humor and fancy is evidently the outcome of profound conviction and a genuine patriotism.
The Attic comedy was produced at the festivals of Dionysus, which were marked by great
license, and to this, rather than to the individual taste of the poet, must be ascribed the
undoubted coarseness of many of the jests. Aristophanes seems, indeed, to have been regarded
by his contemporaries as a man of noble character. He died shortly after the production of his
"Plutus," in 388 B.C. 

"The Frogs" was produced the year after the death of Euripides, and laments the decay of Greek
tragedy which Aristophanes attributed to that writer. It is an admirable example of the brilliance
of his style, and of that mingling of wit and poetry with rollicking humor and keen satirical point
which is his chief characteristic. Here, as elsewhere, he stands for tradition against innovation of
all kinds, whether in politics, religion, or art. The hostility to Euripides displayed here and in
several other plays, like his attacks on Socrates, is a result of this attitude of conservatism. The
present play is notable also as a piece of elaborate if not overserious literary criticism from the
pen of a great poet.